S Poddar
Matt Smith sounds the alarm on what he describes as an emerging trend in the application of trigger warnings to entertainment, saying such practices can water down impact. The “House of the Dragon” and “Doctor Who” actor states that increased usage of advanced notices can undermine the very purpose of storytelling by eliminating surprise and emotional investment.
Smith also finds the use of trigger warnings that are meant to alert audiences to potentially distressing content deeply disturbing. According to him, this is part of a greater issue in which stories are “dialled and dumbed down” to spare audiences from being disturbed. With Smith, so much power in storytelling lies in tackling tough and morally complicating subjects that stir emotions and ways of thinking. He believes that warnings for audiences to shield themselves from such experiences may be somewhat counterproductive.
Smith added, “We’re telling audiences they’re going to be scared before they’ve watched something.” He also explained that part of the power of narrative art lies in a place of surprise and shock that elicits a real emotional response. To Smith, the trend of avoiding discomfort could mean sacrificing a profound impact that the stories can create.
Looking back, Smith recalled how he had watched movies and shows that most likely were too mature for him, films like “Slither” and “Basic Instinct,” and even having been exposed to “Friday the 13th” when he was nine. Smith says this kind of exposure, possibly inappropriate for his age, permitted him to have an advanced understanding and appreciation for detail-oriented storylines.
The call for trigger warnings has opened debate and discussion amongst several figures in the arts. Renowned actress Judi Dench chimes in, though she objected after a performance of “Antony and Cleopatra” received one for suicide, violence, and misogynoir. Dench also questioned the practicality of such warnings, saying they could get a bit too long if they did classic works like “King Lear” or “Titus Andronicus”. She also claimed that for those sensitive people, perhaps it is better not to go to the theatre at all.
Similarly, Ralph Fiennes, who recently starred in the lead role in “Macbeth,” has joined calls for the abolition of all forms of trigger warnings. He believes that theatre should have the license to shock and disturb since that is part of the impact of theatre. He said that for him, growing up without it certainly did not detract from the value or impact of the theatre.
This is not, however, a debate about individual preference; it’s one about larger fears over what trigger warnings mean for the theatrical and cinematic experience. Smith, for his part, certainly recognizes the value of warnings for health issues, such as strobe lights, which can cause seizures in people who suffer from epilepsy; he is nevertheless skeptical when it comes to the larger uses of the warnings.
Smith’s comments become the latest addition in a growing discourse on the role trigger warnings play in modern entertainment and the potential effect those warnings might have on the art form. As that debate continues, it underlines a tension between the desire to protect audiences from distress and the need to preserve the powerful, often challenging nature of storytelling.
